yeah mics totally work best in a single specific placement..every good engineer knows that..PeterAuslan wrote:I was just having this conversation with some engineers about the '52. One engineer had spoken with a Shure rep who said that the best placement was just inside the hole but pointed directly at the beater. It was not meant to be placed close to the beater.
fairview, could you point me towards a recording that has a scooped sound?farview wrote:It really depends on the sound you are trying to get out of the kick. You have to want that scooped sound other wise it isn't the right mic.
For example, I do a lot of aggressive rock and metal. A 421 (by itself) just won't cut it. It ends up sounding too thin without a lot of work or another mic or two to capture the boom.
However, for more laid back kind of stuff, a 421 works great.
Do you really think that mic designers have no concept of use or placement when they design a mic? Of course you can experiment with placement and use, the D-112 was originally designed to record stand-up bass, it's a good thing someone thought to put it in a kick drum. It still doesn't change the designed purpose.Toolshed of Death wrote:yeah mics totally work best in a single specific placement..every good engineer knows that..PeterAuslan wrote:I was just having this conversation with some engineers about the '52. One engineer had spoken with a Shure rep who said that the best placement was just inside the hole but pointed directly at the beater. It was not meant to be placed close to the beater.
great info!Nineteen Billion wrote:The new sound is certainly more on track with what I tend to get from my Beta52. I've used it on metal, rock, and folk albums and have tried every position. Let me suggest some moves for the sound that you're moving towards.
-Take all muffling out of the kick. Damping sounds good to the player, sounds good live, sounds dead on disc. I ususally clear out all the bottom end in my folky mixes to leave space for a huge, long kick sound. Just try it.
-Remove the front head and place the Beta 52 a couple inches away from the inside of the shell (where a great deal of serious low end resides) at an angle of about 20-30 degrees, pointing towards the outside edge of beater head or somewhere along the length of the shell itself. Um, to be more clear (hopefully), the direction of the mic and the shell should converge in a "V" shape near the beater head's rim. Move around to taste.
-When EQing, create a boost of small bandwidth down below 100 Hz, move around until you find the lowest frequency of the kick that you want to accentuate, probably the fundamental of its tuning. Boost that frequency to taste and then boost an octave up as well. You might boost 40 Hz and 80 Hz, for example. You could also boost a fifth above for color (40 Hz and 66.7 Hz), but you risk muddying things up. This obviously works best with a good parametric EQ.
-Blame the mic last. It can do no more than the resources it has at hand. If you don't give the mike the frequencies it needs, it's not going to compensate by creating them out of thin air. Get it? Lacking bass frequencies? Thin air? I'll be re-using that one.
I would post an example of the sounds I get, but I don't have any webspace up right now. If you're interested, I could e-mail a sample.
I'm getting snippy about that shure rep..because he/she is a tool..and don't know what they are talking about..PeterAuslan wrote:Hey toolshed, no need to get snippy. Its a good starting place. Maybe Shure's designers had something in mind that you don't know about.
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